Father’s Day is just a few days away. To celebrate, we’re gathering some of our favorite “dad rock” albums. What is “dad rock,” you might ask? We’re talking about those staples your parents owned on vinyl, the ones that weren’t cool enough for you to discover on your own—no Black Sabbath, David Bowieor The Doors here—but that nonetheless are essential albums in rock history. Listen to one of these ol’ classics this Father’s Day and think about how your dad was right all along—“Hotel California” is pretty far out. Here they are, in no particular order:

Now Fleetwood Mac are cool again, but there was a long period when they weren’t. You don’t make one of the biggest albums of all time without some backlash. But after a Smashing Pumpkins cover, a high-profile reunion special and extensive touring, the Mac came back into public favor, and you can see their influence in a huge way these days, especially in young, female-fronted rock bands like Best Coast, Haimand Beach House. Anyway, Rumours kicks ass and pretty much every baby boomer owns it.

L.A.’s Zig Zags have been steadily building steam by teasing out chunks destructive garage-rock with heavy doses of Sabbath and hardcore like this one, “So Stoned,” whose video is a glam-rock ode to getting stoned and watching YouTube videos. Ty Segall was behind the boards here, giving “So Stoned” that terrific feeling of barely being contained—too much rock! The trio’s self-titled debut album is due June 16 on In the Red.

EFG – “Singing Bridges”

The new song by L.A.’s EFG (aka Electric Flower Group) starts as a lonely, spaced out Jesus & Mary Chain-esque pop tune before a throbbing bassline and absolutely corrosive guitars take over, sending the song into the stratosphere. The band’s fuzzed-out psych rock continues to develop nicely, so much so that the band is playing a plum slot at Chinatown Summer Nights on June 14, a free, outdoor fest once a month in Chinatown over the summer.

Tickets are $3 with RSVP. The show is 18+. Get to the show early if you want to get in—it’s first come, first served.

Portland’s The Thermals have been at it since 2002, churning out socially and politically charged songs with ferocious, catchy power-pop riffs. Their latest is last year’s Desperate Ground.

The show will also feature L.A.-based openers Gothic Tropic and Beach Party and is hosted by Tapioca and The Flea. Gothic Tropic’s jungle-pop bounces on tribal beats and Cecilia Della Peruti’s animalistic vocals. Beach Party’s garage rock is heavy on hooks and attitude on their recent EP! Tapioca and the Flea blend modern psychedelia and electro-pop on songs like “Take It Slow.”

The former Walkmen frontman leaves us swooning on his solo debut. Backing away from the post-punk of his former band, Black Hours sees Leithauser focusing on digging his gravelly voice through chamber pop environs, singing heartily among stirring strings and vibes on “The Silent Orchestra.” Little the Walkmen did had the vibrant energy of a song like “Alexandra,” with Leithauser smiling his way through an irresistible jig. But Leithauser also throws a bone to those who miss the Walkmen’s nocturnal musings with songs like “11 O’Clock Friday Night,” a kind of New York at night drinking song with some clanging percussion amid the CBGBs guitars to keep it tied to the orchestrated feel of the rest of the album, and the lonely piano ballad “St. Mary’s County.” Throughout, Leithauser’s voice has never sounded better, growing further into a manly howl like a young Rod Stewart. He sounds as terrific crying into a pool of whiskey and reverb on the countrified “I Retired” as he does returning to his roots on the defiant “I Don’t Need Anyone.” While we’ll always miss the Walkmen, the thing we were gonna miss the most was that voice. Black Hours makes their departure sting less, as it’s opens a triumphant new avenue for Leithauser.